Rushes: New Hayao Miyazaki Film, Kelly Reichardt's "Showing Up" Trailer, Raven Row Returns

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.

NEWS

• Hayao Miyazaki’s new film for Studio Ghibli has finally been officially announced. Miyazaki had originally retired after completing The Wind Rises (2013), but returned to work in 2016 to make a film inspired by a 1937 children’s novel by Yoshino Genzaburo that he is particularly fond of. The film, tentatively titled How Do You Live, will open in theaters in Japan on July 14, 2023 and has been unveiled with enigmatic artwork (above) showing some kind of bird-like figure. 
• Among the films chosen for this year’s induction into the Library of Congress’s National Film Registry are Frederick Wiseman’s Titicut Follies (1967), Marlon Riggs’s Tongues Untied (1989), and Jon Favreau’s Iron Man (2008). Good luck trying to draw a connecting line between the 25 films that made the selection.
• A number of major film festivals have started announcing their 2023 selections. Sundance has added some further titles, while the Berlinale has now revealed select films from across their Panorama, Forum, and Generation sections. The International Film Festival Rotterdam has also announced the films included in their short and feature competitions. Meanwhile, Visions du Réel, which comes a little later in the year in Nyon, has confirmed that Lucrecia Martel is to be their 2023 guest of honor. 

RECOMMENDED VIEWING

• Kelly Reichardt’s latest film Showing Up now has a charming trailer. Starring Michelle Williams, the lowkey film surrounds a ceramicist navigating a number of personal problems that threaten to interfere with her preparations for an important show.   
• Trailing an in-person screening held in Lagos, Nigeria, the nomadic Pan-African microcinema Monangambee have gifted three films by artist filmmaker Onyeka Igwe online for all to view on their site from now until Christmas Day.
• Projectr Edu, a free version of Grasshopper Film’s streaming service Projectr, is now launching in partnership with libraries and educational institutions across North America. The service has launched in conjunction with the New York Public Library, meaning any New Yorker with a library card can now watch films by Ryusuke Hamaguchi, Jane Campion, Amy Seimetz, Wang Bing, and more for free. 

RECOMMENDED READING

The Super 8 Years (Annie Ernaux & David Ernaux-Briot, 2022)

• “The abiding subjects of the French writer Annie Ernaux are memory and time, or, more specifically, how the passing of the latter shapes the recalling of the former.” For 4Columns, Melissa Anderson writes about The Super 8 Years (2022), a film that Annie Ernaux co-directed with David Ernaux-Briot, the younger of her two sons.
• “Today it is often taken as a personal affront if someone dislikes a film you love, rather than a chance for fulfilling discussion.” In ArtReview, Caitlin Quinlan combines a review of Quentin Tarantino’s book Cinema Speculation with a consideration of the entanglement of contemporary criticism and fan culture.
• Anyone feeling fatigued by the glut of end-of-year lists that have been appearing in recent weeks may be interested to read two pieces written in response to the recent Sight & Sound Greatest Films of All Time poll results. In the Baffler, James Wham bemoans “the slow deterioration of the critic from writer to lister, thinker to survey monkey”; while for Defector, Soraya Roberts explains her own revulsion to the practice of listmaking, noting how lists, when “assigned by an organization,” circumvent discovery” and instead “dictate.” In the end, both pieces refer back to Elena Gorfinkel, whose influential essay Against Lists has been in repeated circulation since its 2019 publication.
• For those still enthused by the possibility of the list, Film Comment’s collection of 2022 lists stretches to include undistributed picks, restorations, and a selection of short films from Prismatic Ground’s Inney Prakash that he prefaces with a request: “If we’re going to keep referring to short films by that moniker, can we start calling feature films ‘longs’?”
• “You are invited to enter David Lynch's exhibition through its title, Big Bongo Night. Its effect is something like an incantation—sibylline, alliterative, and more potent when repeated aloud.” In the Brooklyn Rail,Nicole White reviews David Lynch’s recent exhibition, which just ended its run at Pace Gallery in New York. 

RECOMMENDED EVENTS

This Other Eden (Muriel Box, 1959).

• New York: To Save and Project, MoMA’s annual festival for preserved and restored film, returns January 12 to February 2, 2023. Included in this 19th edition is Muriel Box’s This Other Eden (1959), Aravindan Govindan’s Thamp̄ (1978), and much more.
• New York: On December 21, Bradley Eros presents The Mushroom Archive. Using materials provided by a group of 8mm and 16mm print collectors, Eros and Optipus, a collective of “projection-performers” will work together to create a one-time performance over the course of a day that they will then deliver at “midnight—sharp” to spectators at Light Industry’s Brooklyn venue.

• London: Independent gallery Raven Row is back in 2023, having suspended programming all the way back in 2017. Running from January 28 to March 26, 2023, People Make Television is an exhibition exploring DIY television from the 1970s, much of which “emerged from a fringe department of the BBC” that “handed over complete editorial control, to groups and individuals with ‘voices, attitudes and opinions’ hitherto ‘unheard or seriously neglected.’”

RECENTLY ON NOTEBOOK

Posters for The Act of Coming Out (Alexandra Stergiou, 2022) and We're All Going to the World's Fair (Jane Schoenbrun, 2021).

• For his annual end-of-year feature, Adrian Curry revisits the standout movie posters of 2022. “The posters in my list this year,” he writes, “are those that do what any poster worth its salt should do: they stopped me in my tracks.”
• From Fincher’s Gone Girl, to Pialat’s Loulou, to Dunham’s Girls, Rafaela Bassili unravels the “complex female character” trope. Often, “to be ‘complex’ is a vague but totalized state, both a point of departure and an endpoint, superseding every other attribute a woman may have … [but] in other, more ambivalent modes of storytelling, depth arises from the attempt to grasp the truth of human experience.”
• “It’s a strange sort of intimacy that develops between a film and its translator,” contends Darcy Paquet. In a new essay, he describes the insights gleaned from crafting the English subtitles for Park Chan-wook’s Decision to Leave, in which “the dialogue … feels like the intricately fashioned springs and wheels of a wristwatch.”
• “I always wanted to find some way to share my enthusiasm somehow, rather than keep it to myself.” Kier-La Janisse speaks to Margaret Barton-Fumo about the anniversary edition of her landmark book, House of Psychotic Women, as well as her thoughts on contemporary horror.

EXTRAS

• Tenement Press recently published the first-ever English edition of Pier Paolo Pasolini’s La rabbia, translated by Cristina Viti. The volume is available to order through their website, and a launch event is planned for January at the Italian Institute in London.
• In travel news, Airbnb has made it possible for Hobbitheads to rest their weary eyes at the original Hobbiton™ (sic) movie set.
• There was an alleged Christmas burglary at Robert De Niro’s New York apartment in the wee hours of Monday morning. 
• Finally, thank you for spending another year with our weekly updates! Rushes will be taking a brief vacation for the final week of 2022, and we'll return in early January with our annual Notebook Essential Reads. Until then, happy holidays!